Lighting designer tutorial. Job description of the chief lighting designer

Job description of the chief lighting designer[name of company]

This job description has been developed and approved in accordance with the provisions of the Unified Qualification Directory for the Positions of Managers, Specialists and Employees, section "Qualification Characteristics of the Positions of Workers in Culture, Art and Cinematography", approved. by order of the Ministry of Health and Social Development of the Russian Federation of March 30, 2011 N 251n, and other regulatory legal acts regulating labor relations.

1. General Provisions

1.1. The Chief Lighting Designer is part of the artistic staff and reports directly to [supervisor position].

1.2. The chief lighting designer is appointed to the position and dismissed from it by order of [position name].

1.3. A person who has a higher professional education (theatrical and decorative, artistic, technical) and at least 5 years of work experience as a lighting designer is accepted for the position of chief lighting designer.

1.4. The Lead Lighting Designer should know:

Laws and other regulatory legal acts of the Russian Federation relating to the activities of performing arts organizations;

Technical parameters and possibilities of the stage;

Parameters and technical characteristics of lighting equipment;

The main techniques of artistic lighting in relation to the scenographic solution;

The latest achievements of science and technology in the field of stage lighting;

Electrical engineering;

electronics;

Computer technology;

Color science;

Mechanics;

Rules for the operation, storage and transportation of lighting fixtures;

Experience of performing arts organizations and specialized organizations in the field of stage lighting;

History of material culture and theatrical and decorative art;

The specifics of creative work in performing arts organizations;

Fundamentals of economics and management in the field of performing arts, labor law;

Internal labor regulations;

Rules on labor protection and fire safety.

2. Job responsibilities

Lead Lighting Designer:

2.1. Creates, in accordance with the director's intention, lighting design for new and capitally renewed productions.

2.2. Together with the production designer, he develops the principles and style of artistic lighting solutions for performances, provides the necessary level of artistic lighting design.

2.3. Develops lighting effects, necessary technical means and rules for their operation.

2.4. Participates in the acceptance of the layout of the stage design of the performance, gives specific proposals for the installation and use of the necessary technical means.

2.5. Conducts light rehearsals of performances with fixation of the installed artistic lighting on the scores.

2.6. Controls the exact performance of artistic lighting of performances of the current repertoire.

2.7. Supervises the work of lighting artists and provides them with the necessary assistance.

2.8. Contributes to the professional growth of lighting artists.

2.9. Organizes the study and implementation of the latest achievements in the field of theatrical production equipment and technology.

2.10. Develops long-term plans for the modernization of stage lighting.

2.11. [other job responsibilities]

3. Rights

The Chief Lighting Designer has the right to:

3.1. For all social guarantees provided for by the legislation of the Russian Federation.

3.2. Receive information about the activities of the organization necessary for the performance of functional duties from all departments directly or through the immediate supervisor.

3.3. Submit proposals to management to improve their work and the work of the organization.

3.4. Get acquainted with the draft orders of the management regarding its activities.

3.5. Sign and endorse documents within their competence.

3.6. Participate in meetings that discuss issues related to his work.

3.7. Require management to create normal conditions for the performance of official duties.

3.8. Improve your professional qualifications.

3.9. [other rights provided labor law Russian Federation].

4. Responsibility

The Chief Lighting Designer is responsible for:

4.1. For non-fulfillment, improper fulfillment of the duties provided for by this instruction - within the limits determined by the labor legislation of the Russian Federation.

4.2. For offenses committed in the course of carrying out their activities - within the limits determined by the current administrative, criminal and civil legislation of the Russian Federation.

4.3. For causing material damage to the employer - within the limits determined by the current labor and civil legislation of the Russian Federation.

The job description was developed in accordance with [name, number and date of the document].

Head of Human Resources

[initials, last name]

[signature]

[day month Year]

Agreed:

[job title]

[initials, last name]

[signature]

[day month Year]

Familiarized with the instruction:

[initials, last name]

[signature]

[day month Year]

stage lighting artist designed to emphasize the general idea of ​​the performance through the light and color solution, so he works in close cooperation with the stage director and develops the style of the lighting design of the performance.

In the theatre, scenery and lighting play a special role. The stage light gives the performance a special expressiveness, creates the necessary emotional mood, and even, as David Lynch said, "Light can significantly change the perception of the performance, and sometimes the characters' characters." Light effects can also change the scenery beyond recognition: “Dark clouds turn into heavenly flowers if they are kissed by light,” said Rabindranath Tagore.

Modern lighting and stage equipment provides unlimited possibilities for this. And in some productions, light is the main component in the scenery. The Stage Lighting Technologist is a full member of the creative production team in the theatre.

Modern lighting equipment in the theater is diverse and complex. Stage lighting is provided by lighting devices installed in a variety of places:

• overhead light - spotlights suspended in rows above the stage (plan 1, plan 2);
• side light - lighting fixtures installed on the side galleries and portal backstage;
• remote light - spotlights on special balconies, a ramp (at the front edge of the stage);
• horizontal light - equipment for illuminating the horizon;
• special light - lamps in the form of lanterns, candles, torches, built into the scenery.

In addition, additional lighting equipment for special effects is used: a light curtain, backlighting, a stroboscope for a flickering effect, etc.

In ancient theatres, stage lighting was controlled manually by a team of illuminators located at different ends of the theatre. In a modern theater, lighting equipment is controlled centrally using computer programs from one special room. To manage all this complex equipment, you need to get the appropriate education.

During the preparation of a new performance, a lighting score is compiled, which reflects:

• the list and number of lighting fixtures used in the performance;
• numbers of light programs;
• lighting and dimming mode;
• signals for light changes (cues, movements or phrases);
• color filters, luminous intensity, the direction of the rays of lighting fixtures and other parameters.

Lighting scores are refined during light-mounting rehearsals, during which the positions and lighting modes are worked out, as well as the actions of the lighting department workers. The lighting score must be performed strictly and without changes.

Features of the profession

The professional activity of an artist-technologist in stage lighting can be realized in three aspects:

Artistic and creative activity- during which the specialist:

• is engaged in the development and design of lighting for the performance according to the project of the production designer;
• develops lighting effects;
• creates the necessary documentation of the light score of the performance (involving specialists, if necessary);
• leads the stage lighting process;
• participates in lighting rehearsals, during which artistic lighting is fixed on the scores;
• carries out constant control over the exact implementation of the coverage of performances in the current repertoire;
• in the course of his work, he uses the latest achievements of science in the field of theatrical equipment and technology, as well as new materials.

Organizational and managerial- during which the artist-technologist can manage the departments of the theater that are engaged in the lighting design of performances or produce lighting equipment for the theater. In addition, he controls the correct implementation by the employees of the light score of the presentation and the safety and labor protection rules when working with such equipment (fire safety and sanitation rules). Carrying out mounting light rehearsals and in the course of them the necessary adjustment of lighting equipment is also the responsibility of the lighting artist-technologist.

Pedagogical activity consists in teaching disciplines on the lighting design of a performance in educational institutions of theatrical art (lighting technology for a performance, designing staged lighting for theater and entertainment enterprises, layout, the basics of lighting technology and lighting equipment for the theater, theatrical and technical graphics, technical calculation of structures).

Pros and cons of the profession

pros

1. A creative and interesting profession in which you can develop technically in accordance with innovations in this area.
2. The profession is in demand not only in the theater, but also at concerts, in the cinema and in the circus.

Minuses

1. Irregular working hours
2. nocturnal lifestyle
3. Possible disagreements with the stage director, who may adhere to the point of view of K.S. Stanislavsky and underestimate the role of the lighting design of the performance: “Never forget that the theater does not live on the brilliance of lights, the luxury of scenery and costumes, spectacular mise-en-scenes, but on the ideas of the playwright. The flaw in the idea of ​​the play cannot be closed by anything. No theatrical tinsel will help.”

Place of work

Stage lighting artists can work in theaters, film studios and television, concert halls, venues, stadiums, circuses.

Important qualities

• rich artistic imagination;
• ability to draw and work with hands;
• good color perception;
• emotionality;
• attention to detail;
• constant pursuit of professional growth.

Where to study as an artist-technologist in stage lighting. Education

• Faculty of scenography and technologies for artistic design of the performance. The school has a “Lighting Artist” workshop, which has the technical capabilities to study a variety of modern methods of stage lighting. Here they teach the development of the concept of lighting design for the stage and hall. In the course of the practice, acquaintance with the arrangement of lighting equipment in Moscow theaters is carried out.
• Higher School of Performing Arts ("Theatrical School of Konstantin Raikin"). In 2014, the faculty of "Technologies for artistic design of a performance" was opened with a specialization in "Lighting Engineering" and "Sound Engineering".
• Belgorod State Institute of Culture and Arts
• Faculty "Technology of artistic design of the performance."
• St. Petersburg State Academy of Theater Arts
• Faculty "Technology of artistic design of the performance"
• Kazan Theater School, specialty "Lighting"
• Courses at the Theater and Art College No. 60. Seminar "Light Designer"

Salary

The remuneration of specialists of this profile in Russian theaters is small: from 20 thousand rubles. But experienced professionals are often invited to work part-time in entreprise, concert organizations, nightclubs, where you can earn decent money - for 2 nights of work from 25 thousand rubles.

Salary as of 10/28/2019

Russia 30000—630060 ₽

Career steps and prospects

Graduates of educational institutions can start their career in the theater with a simple lighting engineer, stage engineer, graphic designer. For a novice lighting technologist, this is a necessary stage at which invaluable practical experience is gained. Gradually, from an ordinary specialist, an artist-technologist can grow from category to category and become the head of the theater department responsible for the lighting design of performances. You can also work in concert organizations, nightclubs, the circus, cover city events, church holidays.

The history of stage lighting

Stage lighting was created in the 17th century when theatrical performances began to be shown indoors. At that time, candles were used for lighting. That is, theatrical lighting has evolved along with the advent of new light sources. In the 19th century, oil lamps began to be used as stage lighting, and later gas burners. With the advent of electricity, theatrical lighting also modernized and became more mobile, bright and expressive. In the light scores developed by K.S. Stanislavsky of that time, it became possible to convey the state of nature and weather: morning, afternoon, twilight, night, sunny or cloudy weather.

But the artistic lighting design of the performance developed not only in parallel with the development of lighting technology. Many directors with the help of light visually expressed the sound of music (Appiah), either emphasized the volume of a human figure or architectural forms, or expressed the tragedy of the hero's soul (Craig).

The great Meyerhold used light projections to depict slogans, advertisements, episode titles. That is, the light became the spokesman for the propagandistic, critical or satirical positions of the director. The Czech stage designer J. Svoboda, using modern technologies (lasers and computers), turned light into the main character of the theater. Light design created atmosphere, air, walls, corridors, curtain. These principles of stage lighting have come to be used all over the world. J. Svoboda came up with the idea of ​​using video in theater.

Other directors, such as L. Mondzika and R. Wilson, consider the power of light to be stronger and more expressive than the skill of the actors. L. Mondzik created his chamber performances as a confrontation between darkness and light. R. Wilson argued that "light has its own role, like an actor." These kinds of directors contributed to the emergence of the profession of stage lighting artist. In Russia, this tradition is continued and improved by D. Ismagilov in Moscow and G. Filshtinsky in St. Petersburg.

Modern lighting equipment

Controlled (digital, intelligent) lighting devices are divided into 2 types: drawing and flooding.

They are scanners and heads with movable bodies. At the scanner, a movable mirror controls the projection of the light beam, and at the head, a body moving in all directions. Both devices can change the color and pattern of the beam. The lighting equipment is controlled using the digital DMX protocol.

Analog lighting equipment consists of light guns emitting a tracking beam and flood light devices.

In today's theater there are many lighting fixtures that create great effects:

• moon flower (other names: tunnel, broom or flower) - a lighting device that emits a beam of colored or white rays diverging at different angles
• stroboscope - a device that reproduces light flicker in a certain rhythm;
• cannon-spotlight emitting a bright direct beam for tracking illumination of a single object or person
• laser beams
• light floor
• ultraviolet lamps
• smoke, fog, snow generators
• simulator or flame generator and much more.

One of the problems of the Russian theater lighting designer and illuminator, says Vladimir Lukasevich, chief lighting designer of the Mariinsky Theatre.

What lighting designer- this is not a person who knows thoroughly only lighting technology, Vladimir Lukasevich understood a few years after starting work in the theater. Therefore, he and his friend Mikhail Mikler, now the main lighting designer Maly Opera Theatre, came to the production department of the Leningrad State Institute of Theater, Music and Cinematography (LGITMiK) in 1977 and asked to teach them according to the program, which they themselves compiled for themselves. To the general subjects traditional for production designers, they added color theory, electronics, the physiology of vision, the psychology of perception, which previously did not exist at all in this faculty. Now this and much more will be taught in the new course of the production department at the Theater Academy. On the course Lighting designer”, created on the initiative of Lukasevich and head. Department of the production faculty of V. M. Shepovalov.

Other people's mistakes

Lighting designer creates his own role Sveta” in a performance, which in theory (like all other components of the “role”) should make the viewer both cry and laugh, which is what the theater as a whole serves. How can you really make a viewer cry if you don't know how to press his lacrimal glands, if you don't know the psychology of perception? There is the physiology of vision, for example, the law of dark adaptation. How to make a change when "cutting down" on the stage so that the viewer does not notice it? Maybe just pay off light, but it will not be enough, since there is no complete darkness in the theater - after all, there is an orchestra pit, lamps emergency exit, etc. Perhaps, in this case, it would be more correct to adapt the audience's vision to some increased brightness in order to prolong the viewer's feeling of "darkness" until dark adaptation occurs. These are quite real tools... And if you don't want complete darkness, but want a state in which the viewer sees what is necessary for the action, but not what you wanted to hide? Of course, you can practice for a long time empirically, looking for to what extent, to what brightness and for how long you need to adapt the viewer's vision, or you can just know how the adaptation curve works ... Well, the psychology of color perception goes far into history, whose roots you will find in Tibetan philosophy and Buddhist culture. Ancient Indian theatre, for example. When a backdrop of a certain color, say, green, was lowered in an Indian theater, the viewer immediately understood that it was about melancholy. It was both a symbol and a sign to the viewer. Well, and so on. Such things, of course, need to be known and understood initially. Why fundamental education is needed - so as not to start from scratch every time, our favorite method of our own trial and error.

Unfortunately, in Russia there was no school where the entire amount of knowledge necessary for education would be collected in one place. contemporary lighting designer. There has always been a transfer of craft from master to apprentice. But masters such as Klimovsky, Kutikov, Diaghilev, Drapkin, Sinyachevsky, Barkov, Volkov, Simonov, who worked in the fifties and seventies, always said: "Watch how I do - and learn." Naturally, therefore, they left few disciples. And today, it would probably be right to say that for the most part, all current Russian lighting artists- self-taught. Based only on their own experience and intuition, they again and again start from the same zero that the previous generation started from. This is the essence of the concept of "professional school" - it accumulates experience.

At the annual seminars for Russian lighting artists Lukasevich heard more than once about the practice of working in some theaters, which is completely unthinkable in work lighting designer: "And in our theater the director says:" Filter this lantern with red! This one - with green! Point it here, I said! And this one - there! Do as I said ...".

This is what I would call work. illuminator, - we will illuminate where they say.

Modern theater can't work like that. This kind of practice became obsolete a hundred years ago, and these are, of course, the rudiments of the theater of the 19th century. But surprisingly, in a fairly large number of places it exists safely. Perhaps this is due to the fact that our directors and artists traditionally receive insufficient education in matters of "scenography" and Sveta and how poorly educated people are convinced that they "know everything." The problem, of course, is two-sided. Insufficient education on both sides gives rise to situations of mutual distrust, when the director does not believe in creativity lighting designer, lighting designer - shines, where they say, thereby initially impoverishing the work being created.

Of course, no one argues: the stage director is the creator and generator of the idea and concept of the performance as a whole. But not the question of the director - what flashlight where to send. The director has other tasks - to deal with actors, mise-en-scene, and so on. The point is that the lighting designer works with the director from the very beginning, when the idea is still being formed, before the performance is rehearsed on stage. By the time the artist enters the stage, everything should be ready. Absolutely everything for rehearsals, where the “role Sveta”, in the same degree as any acting role. It's too late to think. That is, he must give birth to a score Sveta, which falls on the concept of the performance, carried out together with the director. To build your own work - to create a color scheme that harmonizes not only with the costumes and scenery, but also with the characters, and with the music, and everything else. In a word, he must make his own accurate and aesthetically verified work, work out the lighting score. Otherwise, half-finished performances - "works" - are obtained. According to Lukasevich, one of the problems of the Russian theater is that we very often do not distinguish: what is lighting designer and what is illuminator, which at the request of the director illuminate the actor - "so that it can be seen", and the scenery - "so that it is beautiful."

Education Standard

The impetus for the start of work on the opening at the Theater Academy of the course " Lighting designer”was Vladimir's invitation to the University of Connecticut to give lectures on the history of the subject in Russia. Americans, by the way, engaged in vocational training lighting artists since 1936, the Russian experience seemed interesting. And Vladimir, in turn, envied the way their training is organized. After all, the drama faculty of the university has four own, well-equipped theaters, in which 6-8 full-fledged performances are staged a year, by all the students of the faculty. Thus, lighting artists, just as, however, like actors with directors, there is an opportunity - and this is even necessary - to work and illuminators, and editors, and assistant directors, that is, to master the theater from all sides. For the course they manage to release on their own as lighting designers 5–7 each performances. Accordingly, completing the course, they already have a decent portfolio and may be something interesting for employers.

Vladimir Lukasevich in the past had experience in teaching (12 years) theater lighting engineering at the production department of LGITMiK, and even several courses were released in the specialty "Artist-technologist" with a specialization " Lighting designer". Ultimately, it became clear that theoretically, without a decent technical base, this, perhaps, does not make sense.

You see, it turned out such a wrong thing. All attempts to create a normal class at the faculty and at the same time at the Mariinsky Theater were unsuccessful. And it turned out that people came to us to study, we taught them, they graduated from high school, received a diploma " lighting designer” and were sure that what was written in the diploma was true. But it wasn't like that, or not exactly like that. At least, because they did not have the opportunity to learn the profession in practice. And it turned out that we told the person that he was red, but he was actually bald. But cheating is still not good. Because of this, preparation lighting artists was stopped, but it's easy to read lighting technology it wasn't very interesting anymore.

And further. After teaching in America, I was tormented by envy: why is it possible to learn from them, but not from us? After all, today the situation has long been different, and there are opportunities to get a certain technical base, you just need to work on it. And we agreed with the Theater Academy to open a corresponding course at the production department.

It is in the specialty Lighting designer»?

Here is buried another, big and at the same time ridiculous problem. The main idea was that from the very first course it should be a course lighting artists. Without any specializations there, because these are still different things: specialization and profession. But then we came across something interesting. It turned out that in the list of professions available in our country, lighting designer Yes, but not on the list of the Ministry of Education. That is, it turns out that the profession is like that, but no one understands who and how should train specialists. It's complete nonsense.

For this profession to appear in the above list, there must be an approved Education Standard. We wrote this standard, but there is probably no one in the ministry to deal with it, to approve it (because of 8-15 graduates a year).

What is this Education Standard?

A list of all the subjects and knowledge that a student must master in order to become a professional. I invited for this work my friend Jim Franklin, who once organized a similar course at the University of Connecticut (now one of the leading schools of our profession in the USA). In parallel, he lectured at the Theater Academy for a whole semester. At the same time, this topic was actively discussed at meetings and round tables of the Association lighting artists Russia. They broke spears. It started with nonsense: And what should it be called? lighting designer or something else? But what is lighting designer? I don't understand who is lighting designer. What is design in general in our understanding? Indeed, in English the word "designer" does not directly correspond to the word "artist". It's more of a constructor. Although this is also not entirely true. Ultimately, we are talking about a profession that is creative and creates a certain visual range, which means an artist. After all, outside of our disputes, it exists in the register of professions. Lighting designer- this is right.

On the other hand, how to teach to be an artist? It's probably impossible, it's more likely from mom and dad. I think that in our Academy (as in any other creative university) it is, first of all, about giving a person a craft. Craft methods of existence in the profession. And what he does with these techniques, how it is realized, depends on his creative potential. But the profession needs to be learned. History of Russian and foreign theater, history of material culture, history of fine arts, philosophy, theory of scenography, history of Russian and foreign literature, perspective, drawing, calculation of theatrical structures, painting, drawing, psychology and physiology of perception, history theatrical light and theatrical costume, computer modeling and the theory of the spatial solution of the performance ... Yes, we have included a lot of other things in the Standard of Education. Long list.

For what lighting designer study so many humanities?

To be educated, modern. How do you propose to work on a play, let's say, or an opera, without knowing the history, the material culture of the era that your performance is about? Narrow professional knowledge, in my opinion, Karl Marx called "professional cretinism." For the sake of broad knowledge, of course! Later, Jim (I was on tour at the time) presented our program in Munich at a seminar lighting artists where monsters of our profession from Europe and America traditionally gather. And, according to Jim, colleagues were a little surprised: the program looks even more serious than the one that exists today in the States. The fact is that for a number of reasons, for example in the United States, there is no way to provide such a wide range of items. And the St. Petersburg Theater Academy has a huge resource in this regard. And I went for it deliberately, because in the American school I was very embarrassed precisely by the limited knowledge of history, the experience of the world, European theater, and the general outlook. They, perhaps, know nothing about the Russian theater, except for the name of Stanislavsky. There, at the university, students came to me and told me about crazy ideas that they themselves came up with. And I had to give a lecture about our compatriot who worked for Dalcroze in Hellerau in 1912. “... This has already happened. In the fourteenth year, Nikolai Saltsman already did all this ... ". So that lighting designer is not just knowledge flashlights. This is a detailed knowledge of the subject from all sides.

What are the requirements for the entrance exams?

Due to the fact that the course is opened specifically at the Theater Academy, we, like in all creative universities, have the opportunity to arrange a selection of students in two and a half rounds. According to the way you want.

So for what?

I want the student to be smart and talented. The first qualifying round went like this. Each applicant received a reproduction of a painting - a classical painting. Based on this picture, it was necessary to draw a plan, a side section - to make an allegedly theatrical stage - and put light. In the hands of only a pencil and paper. It didn’t matter to me how they can draw layouts - they will be taught to draw them for four years later - it is important to understand, firstly, how much a person sees space and, secondly, how much he sees light in this space. This is the Jesuit task I set them. And for the second round, you had to either take a photo yourself, or find clippings from magazines with pictures in which light played a certain role. And talk about it. And not the simplest spectacular pictures, where, say, the sun rises behind the forest and a powerful “backlight” light is visible, but something more complex, multifaceted. There were a couple more problems from school physics and drawing. Then - an interview, when all the teachers of the department asked the applicants about the theater, literature, music. To understand how theatrical person is and from our team. Thus, eight people were selected (although initially I assumed a course of six). We really hope that they will come out of it.

And your graduates will put light in the best theaters in the world?

I would like to, of course. I think it primarily depends on them. What depends on us at the faculty, I think we will do. And then - how life will lead. Maybe not theater, who knows. It's about the fact that lighting designer- this is lighting designer. And light he can stage it anywhere: in a casino, in a theater ... Illuminate the Kazan Cathedral or museum exhibits. This is a profession. And she can apply to anything. The question is that a person understands what he is doing. Of course, there is a specialization - architectural lighting, theater light, concert light. But these are all different subjects of the course. BUT lighting designer must figure out the best way illuminate this or that. For example, I would like to see architectural lighting Petersburg is not what it is today. After all, St. Petersburg is an amazing dramatic environment. Well, maybe Dostoevsky's Petersburg illuminate just like Pushkin's Petersburg - these are different cities! And light, and the environment in these different cities should be done differently. Well, at least for aesthetic reasons. And we have all the lighting - flashlights: it was dark, it became light - that's all the progress. It's the same with theater - problems of the same root. But this period will eventually pass. Hopefully not without our help.

Vladimir Lukasevich was born in Odessa in 1956. At the age of fifteen, he entered the Leningrad Film Technology School with a degree in Theater Lighting Designer. At the age of seventeen he made his first performance as a lighting designer at the Ryazan Regional Drama Theatre. Graduated from the Leningrad Institute of Theatre, Music and Cinematography. He staged performances in many drama theaters in Russia. Worked in the theater. V. F. Komissarzhevskaya with People's Artist of the USSR R. S. Agamirzyan. He taught at LGITMiK the discipline "Artist-Technologist" with a specialization "Artist in Lighting". Since 1985 he has been working at the Mariinsky Theater as the chief lighting designer. He teaches at the University of Connecticut. He puts on lights in performances not only in St. Petersburg, but also on the stages of opera and ballet theaters around the world. He has more than 300 performances to his credit, classical and avant-garde productions: Boris Godunov, The Nutcracker, Lohengrin, Parsifal, Sleeping Beauty, Samson and Delilah, Corsair, Firebird, "Parsley", "La Traviata", "Copelia", "Carmen", "Theme with Variations", "Manon", "The Tale of Tsar Saltan", "Ariadne auf Naxos" and others ... The performances designed by him went and go on many venues in the world - Spoletto Festival USA, La Scala, Opera Bordeaux, Royal Opera Covent Garden, Opera Marseille, New Israeli Opera, New National Opera in Tokyo. Eight years ago, according to his project, a unique reconstruction of the lighting equipment of spotlights was made at the Mariinsky Theater, and lighting equipment with fully automated control appeared in the theater. Vladimir Lukasevich is one of the members of the board of the Association of Lighting Artists of Russia and under the auspices of this association and the Theater Academy of St. Petersburg conducts annual seminars for advanced training of lighting artists. And this year, on his initiative, the staging department at the Theater Academy for the first time held a set for the course "Lighting Designer".

List of subjects of the 5-year course of study in the specialty "Lighting Designer"
Foreign language
Physical Culture
National history:
World historical process in Russia
The history of homeland
Philosophy:
Fundamentals of philosophical knowledge
Philosophy of Art (Aesthetics)
Culturology
Psychology and pedagogy
Russian language and culture of speech
Sociology
History of Russian literature
History of foreign literature
History of foreign dramaturgy
Theater history
History of foreign theater
History of the Russian theater
Fine art history
History of foreign fine arts
History of Russian fine art
History of material culture and life
Drawing and painting
Theater buildings and structures
Organization of theater business in Russia
Theatrical make-up and pastige
Life safety
History of Russian music and musical theater
History of foreign music and music. theater
History of St. Petersburg
Theater Safety
Stage equipment (light)
Dramaturgical analysis
Theory of scenography
History of theater light
Scenographic composition
Artistic technology
Theater production technology
Stage device and equipment
Fundamentals of perspective and layout
Calculation of theatrical structures
Stage costume technology
Artistic lighting technology
History of theatrical and decorative art
Costume history
Fundamentals of architecture
Drawing and descriptive geometry
Theater lighting equipment
light and color
Light score, graphics
Psychology of perception
Theater Lighting Technology
Electronics
Aesthetics of light
Computer simulation of light
Specialized software
Light in musical theater
Light in the Drama Theater
Architectural lighting design
Lighting for concert programs

Books

Reference book on lighting engineering

Moscow House Sveta and the Znak publishing house are preparing for release at the end of 2005 the third edition of the Reference Book on lighting engineering».
The first two editions were published in 1983 and 1995. During this time, the Reference Book on Lighting Engineering, published in a circulation of 65,000 copies, has become a reference book for most specialists and at the same time a textbook in many areas of lighting engineering.
The new edition is distinguished by a much greater completeness of materials, the presentation of the latest regulatory data, methods and means of calculation, design and lighting design, full-color design and printing on high-quality paper. In the new, third edition, the sections " Sources of light"," Ballasts and lighting control systems", revised methods of calculation and design based on the widespread use of computer technology. New chapters in the book: Light design», « Light and health”, “Energy saving in lighting installations”, “ underwater lighting”, “History of lighting engineering”.
"Handbook for lighting engineering» is intended for a wide range of lighting specialists, electricians, architects, hygienists, doctors, labor protection workers associated with the use of natural and artificial lighting, development and production lighting products, design, installation and operation of lighting installations.
"Handbook for lighting engineering will also be released on CD.
You can order the Reference Book on Lighting Engineering at the House of Light. His address:
Russia, 129626, Moscow, Prospect Mira, 106, of. 346
Tel./Fax: (095) 682–19–04, tel. (095) 682–26–54
E-mail: Light- [email protected]

Ballad of Light

“She is over 120 years old, but she does not look her age. No matter how many new sources of light compete with it, it remains the most beautiful of all. A thing that remains unchanged in its classic form, an example of perfect design, to which there is nothing to add and nothing to take away from. In many cases much more beautiful than all the lampshades and lamps with which they now adorn and cover it.
Thus begins a new, just-published book dedicated to the first widely used electrical device in history. The book has over 200 illustrations. The text is structured around three main themes: the technical aspects of the introduction of light bulbs, advertising and graphics from many previously unpublished documents, and finally, “words about light» - the view of poets and writers on the object of study.
This book is a 144-page long-voiced paean to the light bulb, with an excellent minimalist cover that replicates a 1912 poster commissioned by AEG by Peter Beehrens. The book does not pretend to be a technical treatise or a textbook on lighting technology, it is an "illustrated atlas" that is a pleasure to read. Even the title is reminiscent of the property Sveta bring joy and happiness.
The text opens with poems by the Russian poet Vladimir Mayakovsky dedicated to the electric light bulb and its fiery heart. The book ends with the lines of the great American neurologist Oliver Sacks: a fragment of autobiographical prose about his favorite metals - osmium, tungsten and tantalum, from which filaments in lamps are made. Between these two luminous rods stretch five parts of the book: "Myth and Beauty", "Edison and his kind", "War against gas", "Workshops of Light", "Our Time". Workshops of Light contains six biographies of the most important companies and exhaustive descriptions of countless commercial brands. The author is not new to such publications. In 1995, Lupetti published his "Signs of Light", now virtually sold out. Accompanied by illustrations, it is easy and enjoyable to navigate through the history of light bulb advertising with a bit of technical detail and cultural digressions. In fact, a third of the volume - its final part - elevates the charm Sveta on a high pedestal created by the words of poets.
Materials provided by the Portal Sveta
www.lightingacademy.org

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Interviewed by Maria Medvedeva

Business card

Anna Makhortova, 20 years. Assistant lighting designer at the Moscow musical theater "Monoton". Student of MGTT them. L. Filatova.

We come across their work all the time: in the theater, at a concert, at a children's party somewhere in an ordinary DC. We collide, but do not think, so the result of this work is natural and familiar. However, the absence of these people in the workplace is a nightmare for any director or actor. These people are lighting artists, "lighters". With one of them, a very cheerful and enthusiastic student Anya, I managed to talk.

What does a lighting designer do? What is included in the scope of his duties?

The main and main task of a lighting designer is to provide the lighting component of a performance, musical, concert. The lighting designer comes up with what kind of lighting and at what moment will be on the stage, if the director does not do this. In general, directors often do not understand anything about this, and then the lighting designer can completely light up the performance. If the director is a person who is interested and versatile, as he should be, then they can discuss this together with the lighting engineer, the director can prescribe the score, and then the lighting designer will be more like a performer. The whole performance is recorded as a sequence of turning on the "light" on the control panel, and during the action there is no need to invent and experiment anything - everything is verified in advance. It remains only to turn on a certain button in time. But the process of working out all this is quite long and laborious, because you need to take into account a lot: color compatibility, lighting intensity, and so on.

Anya, how did you get into this business? Does it have anything to do with your future profession?

I study at the Filatov Theater College, and the college has its own theater. I am studying social and cultural activity manager. When I was in my first year, the lighting engineer of our theater was looking for a part-time assistant among the students. He offered our guys, but for some reason everyone refused. And then I began to ask him, saying that gender is not important in this occupation, and it would be very interesting for me to work in this area. I entered college at the age of 16, so I could not be registered in the personnel department. So I applied for this job for another two years. When the age reached the required mark, I was immediately taken. I have already worked for three years.

I'm not a lighting designer yet, but only his assistant. Although there may be an increase in the future. At the moment, I don’t invent anything myself, my boss does it. He sets specific positions in the console program, and during the performance I monitor the proper execution of this program, switch the buttons that are pre-programmed. Of course, I am taught all sorts of tricks and peculiarities of working with light, so in the future I can work as a lighting artist.

That is, this work was interesting to you in itself?

Yes. My older sister works as a film director. I often visited the set, and at that time I also wanted to work in the cinema. I considered that for normal high-quality work it is important to try to learn as many directions as possible in the organization of the process from the inside, so that later I can competently manage and set the right tasks for my subordinates.

Along the way, I sincerely became interested in the process itself, became interested in the nuances and what I do not need directly in my work, but for myself. Initially, this was not.

Tell me, did your immersion in this profession change something in your attitude?

If we talk about worldview, then all this is not so subtle things. However, I began to better understand the compatibility of colors. When I enter a room, I pay attention to the light. And if you think about it, then yes, a certain professional deformation has occurred. Now, when I go to a performance or a concert, I pay attention first of all to the light. Then I ask questions to my boss, what was done and how, why exactly. It’s normal to calmly look at what is happening on the stage, I can no longer. Like my sister and I can't normally go to the movies (laughs). In general, when you come to work in the cultural and entertainment sphere, you begin to pay attention to all this, try it on yourself and on your future projects. So, when I come to a concert, I concentrate not on my feelings and impressions, but on the analysis of what is happening. This is a different level, and it is much more interesting, in my opinion.

To be honest, my circle of interests has changed somewhat. New devices, techniques. It's all so unusual, you want to study and understand it. Recently I was at a concert of a foreign artist who came with his own equipment - I only looked at this equipment, at how color and light are combined with music, they work in the same rhythm. I wanted to be able to work with all this, to touch and feel everything. Then to create something yourself so that the viewer can say: “Wow!”

What qualities should a person who wants to work as a lighting designer have?

Probably, all the subtleties are recognized already in the process of work. But there must be a certain sense of color and light, that's for sure. It is clear that a color blind person cannot become a lighting designer. Intuition must be well developed to understand whether there is enough light on the main character, whether it is worth putting red and orange, or whether it is necessary to add a little cold lighting.

In terms of education: of course, there are courses. I know that VGIK has courses. But I, for example, did not finish any courses, I started with little things, like an apprentice before. My boss taught me a lot and continues to teach me. I gain experience from hand to hand. Yes, there are mistakes and blunders, but then I immediately have practice. In general, a lighting designer is an ordinary profession. In such few people are torn. Much more interesting to be in sight: director, actor.

How serious are blunders?

Lighting is an integral part of the presentation. Anyone. In the dark, the viewer will not see anything. But modern equipment allows much more. Light sets the mood. With the help of light, you can depict rain, fire, stormy emotions of heroes or sadness. I had a case. Since I don't set up anything myself, during the intermission I went out to the buffet for a bite to eat. I return to the beginning of the act in my place, the curtain opens - and there the so-called main lighting goes on, like at a rehearsal. The actors are all standing, the action is not starting, they are waiting for the right lighting. And he is not. And the audience is waiting for the actors to do something. I rushed about, I press the buttons - nothing changes. Somehow, by the middle of the act, the lighting worked, I had to restart the console. Then until the end of the performance, my hands were shaking. Fortunately, it was possible to blame everything on the technique, as you know, it tends to fail. This is not a blatant case, but I have seen that illiterate lighting greatly spoiled what is happening on the stage, did not allow the viewer to fully immerse themselves in the world of the performance.

A lighting designer is truly an artist. It creates an extra dimension to the performance. It's like a movie trick - foreground, background. Emotions, mood, weather. Release smoke or bubbles at the right time.

What, is the lighting designer also responsible for this?

Of course, the director comes up with it, the lighting designer can come up with an idea, but all the equipment is connected to one remote control. So yes, if needed, I'll throw smoke or bubbles, do other special effects.

Is the profession promising? Is there a lot of competition?

There are quite a lot of light workers now, but nevertheless, the prospects of this profession cannot be denied. Every small theater, every even a little-known group wants to have their own lighter. So you won't be out of a job. The entertainment industry is growing, and the need for lighting artists is constantly growing. It is clear that it is difficult to get into some cool places, there is a completely different level, although there is no exorbitant competition there either. But even an average-level light worker receives a very good salary, while not risking losing his job, unless he constantly messes up.

Do you plan to continue this job after graduating from college?

It is hard to say. Plans are constantly changing. If at the beginning of my studies I planned to become a producer, now I want to be a cameraman. In this profession, understanding light is very important, so my current experience will definitely come in handy. I don’t know how much longer I will work in our theater, because everything in my life is changing very quickly. But while I'm definitely not going to leave: this is experience, this is experience, this is practical knowledge. And it's just interesting.

The profession of illuminator appeared in the Shakespeare era. Special servants ensured that the candles did not smoke or go out during the performance. Systems for lighting theaters began to be developed in Italy during the Renaissance. Today, in order to become a lighting designer, one must not only be on the “you” with electrical engineering, but also have good organizational skills, have an artistic taste and a well-balanced sense of light, and one also needs to know physics, optics, directing and scenography. As you can see, there are many requirements, and therefore a lighting designer in our country is a rare specialist.
The features of this profession are shared by Konstantin Gerasimov, a lighting designer and CEO of TDS, a company specializing in complex technical support for events.

TDS Konstantin Gerasimov at work.

“The lighting designer is an amazing combination of one of the most technical and at the same time creative professions. With the help of light, we convey the general idea of ​​the show, create an atmosphere. For each project, we develop a unique design, select equipment that can solve specific problems. And here it is important not only to know the laws of lighting, modern devices and technologies, but to have an indefatigable imagination in order to surprise the viewer again and again.

In our business, just like in painting, you can’t just pick up a brush and immediately start creating masterpieces. This profession takes a lifetime to learn. It's not enough just to master the basics. The show industry is developing rapidly, new technologies appear every day. You need to clearly understand which of them are in trend now, and look for what the global audience has not yet seen. And here the symbiosis of technologies comes to the rescue, because any show consists of a set of elements - scenery, video sequence, special effects. Having worked for many years in the show industry, I realized that the secret of a successful show lies precisely in an integrated approach to creating a project. Collaboration of the lighting designer with other technical specialists allows creating the very exclusive and brings the show to a fundamentally new level of quality.
This idea formed the basis of the TDS company, which brought together professionals in the field of technical support for events. Our team leads the project at all stages of its life - develops stage and scenery design, creates light and video installations and performs a full range of technical administration and project support.

We believe that the quality of any project depends on the thoroughness of its preparation, so we use 3D visualization and pre-programming methods to design and stage the show. This allows you to see the full picture of the project even before the start of installation and work out its technical component in detail.

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